[gbog]

I would be interested to know how Chinese classic painting fits in these theories about blackness: it should represent something not to far from half of all paintings ever produced by human beings and theories thereof, and as far as I know its main mode is shades of black ink on white paper.

[ohgodthecat3]

I might have wrote a confusing comment accidentally. The don't use black pretty much comes into play in realism and other art with how people perceive the color black.

It is more realistic to represent shadows and blacks with dark colors as that is what they are but we rarely see black.

Because Chinese painting is rather stylized in is specific way black is a major factor, the same would go for things like comics and comic books and other such things.

[tripzilch]

Well that probably ties in to how I was taught to "don't use pure black" in high school art class: when drawing with India ink and pen.

(BTW I just see on Wikipedia that the Chinese paintings you're referring to are quite different, but I'll tell the story anyway.)

Most of our drawings would be made of shading, which is done by either cross-hatching or stippling. When you'd need a shadow area to be really dark or "black" you weren't allowed to take a brush and simply paint it, no you had to stipple or cross-hatch it until you reached the desired level of darkness. Rather tedious work for large areas and most kids hated it, though I kinda liked "zoning out" doing it.

And you could tell, too. A properly shaded dark area could be really really dark but always have some white specks in between the layers of cross-hatchings. Very subtle, but it would make it look way more "real": we were shown examples of pictures where the darkest shadows (a hole in the wall or something) were painted flat black with a brush, and they'd seem (also literally) "black holes". They'd punch right through the image without any sense of depth-proportion. Obviously, because there wasn't any: you can't shade part of a black hole darker than the other bits.

Describing this, it makes me think of working with DSP/audio applications. Volume is measured in dB, and if you turn it down, you can go to -36dB or -48dB and it's pretty much "silent" (-3dB is half as much power) as long as you play it next to sounds at full volume (0dB). Turn it further down and the software cuts the value to -Inf dB, when there is really no sound ("pure black").

BTW I'm not trying to say that you should never turn a sound all the way "off" in an audio mix :) [I'm not a professional sound mixer], just that the concepts seem really similar. In both cases, our eyes and our ears have a tremendous dynamic range, and they are sensitive to ratios, mostly. Using a "pure black" paint (I think NASA must have some that comes pretty close) confuses those ratios because it "divides by zero", in some sense.

Your example of Chinese classic paintings is interesting though, I think it also shows that tastes and customs in painting vary over the ages. The "don't use pure black" style is really ubiquitous in current-day digital (web/app) design, but it didn't use to be always like that. Nor is "realism" a necessary quality, (Jackson Pollock used pure black and they are the prettiest images before the invention of TV static!).

[quanticle]

That's true, and it's true of black & white art more generally, but even there, you don't have blocks of pure black. You have pure black lines on white or cream-colored paper.